POST PRODUCTION

The Red Cam Studios' team has a post-production staff dedicated to ensuring that your media is handled properly and that post-production workflow is as seamless and inexpensive as possible. This page chronologically takes you through a simplified post-production workflow associated with the Red One Camera.

 

RED ONE DATA WRANGLER

Post production begins in pre-production, and is supervised by a Red One Data Wrangler or Red One Tech.

Since the Red One is a tapeless camera, it is critical to have a person on set managing and backing-up the data. A Red One Data Wrangler ensures that your media is properly maintained on set.

The Red One Data Wrangler's responsibilities continue through production into post-production with the backup of data, production of dailies and the creation of scene bins / timelines. At this point, the option to bring in an editor is available.

 

EDITOR

TRADITIONAL EDITING: Traditionally when using 35mm and previous digital cameras, an editor worked with telecined or downconverted source footage while cutting a project. This was done to avoid gobbling up large amounts of storage space and the need for fast computers. At the end of the editing process, the editor would output an E.D.L. (Edit Decision List) and a reference movie. The 35mm negative would then be cut or the HD project would go through a tape-to-tape conform.

RED ONE CAMERA EDITING: With Red One cameras, editors work with 2K Apple Pro Res files that have been transferred from Red's proprietary codec.R3D files. Once editing has been completed, the assistant editor then uses Red Alert, Red Cine, or our proprietary software to link to ("conform") the original 4K files.   Unlike traditional editing, the editor is working with deliverable-quality media during the offline process.

In short, the editor is working with deliverable-quality media during the offline process.

 

COLORIST

After the conform, the project moves into the color-correction phase. During this phase, the final "look" of the project is developed. This process involves collaboration between the colorist, the producers, and sometimes the Director of Photography and director.

At Red Cam Studios, we have both a small 2K e-cinema suite and an in-house 2K projection room with a Scratch system for larger projects.

Red Cam Studios works with many of the premiere colorists in the industry. We offer one-light, best-light, and final pass color-correction.

Our suites are also available for you to work with the colorist of your choice.

 

VISUAL EFFECTS

Owner Keith Collea is the visual effects supervisor for Red Cam Studios. In addition to working on several major studio features, Keith supervised VFX for THE GENE GENERATION which received critical acclaim due to its ground-breaking visual effects. If your feature has intensive visual effects, it's best to contact Keith before production so that visual effects can be backward-engineered and produced as effectively and inexpensively as possible.

 

DIGITAL INTERMEDIATE

Digital Intermediate (or "DI") is the process of transferring content, either file-based or tape-based, to a digital medium for editing.

Red Cam Studios has available a 2K DI suite which can fit your budget and needs. If you need Digital Intermediate for a film project, contact Red Cam Studios with your request.